Archaeology for the People Joukowsky Institute Publications KOINE: Mediterranean Studies in Honor of R Ross Holloway Edited by Derek Counts and Anthony Tuck Re-Presenting the Past: Archaeology through Text and Image Edited by Sheila Bonde and Stephen Houston Locating the Sacred: Theoretical Approaches to the Emplacement of Religion Edited by Claudia Moser and Cecelia Feldman Violence and Civilization: Studies of Social Violence in History and Prehistory Edited by Roderick Campbell Of Rocks and Water: Towards an Archaeology of Place Edited by Ömür Harmanşah Archaeologies of Text: Archaeology, Technology, and Ethics Edited by Matthew T Rutz and Morag Kersel Archaeology for the People Edited by John F Cherry and Felipe Rojas Archaeology for the People Perspectives from the Joukowsky Institute edited by John F Cherry and Felipe Rojas Oxbow Books Oxford and Philadelphia Joukowsky Institute Publication General series editor: Prof John F Cherry Joukowsky Institute for Archaeology and the Ancient World Brown University, Box 1837/60 George Street, Providence, RI 02912, USA Published in the United Kingdom in 2015 by OXBOW BOOKS 10 Hythe Bridge Street, Oxford OX1 2EW and in the United States by OXBOW BOOKS 1950 Lawrence Road, Havertown, PA 19083 Published by Oxbow Books on behalf of the Joukowsky Institute © Brown University, Oxbow Books and the individual contributors 2015 Paperback Edition: ISBN 978-1-78570-107-8 Digital Edition: ISBN 978-1-78570-108-5 A CIP record for this book is available from the British Library Library of Congress Control Number: 2015952702 All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopying, recording or by any information storage and retrieval system, without permission from the publisher in writing Printed in the United Kingdom by Hobbs the Printers Ltd, Totton, Hampshire For a complete list of Oxbow titles, please contact: United Kingdom United States of America Oxbow Books Oxbow Books Telephone (01865) 241249 Telephone (800) 791-9354 Fax (01865) 794449 Fax (610) 853-9146 Email: oxbow@oxbowbooks.com Email: queries@casemateacademic.com www.oxbowbooks.com www.casemateacademic.com/oxbow Oxbow Books is part of the Casemate Group Cover images: Part of a Soviet propaganda poster used in one of the advertisements for the Archaeology for the People competition Contents Introduction: What Is Archaeology for the People? 1 John F Cherry and Felipe Rojas The Sanctuary: The World’s Oldest Temple and the Dawn of Civilization Elif Batuman [Reprinted from The New Yorker, December 19, 2011] 15 An Archaeology of Sustenance: The Endangered Market Gardens of Istanbul 29 Chantel White, Aleksandar Shopov, and Marta Ostovich The Quest: Who Were the First Americans? 39 Chip Colwell Remembering Slack Farm A Gwynn Henderson 53 Pot Biographies and Plunder Vernon Silver 69 The Decline and Fall of the Classic Maya City Keith Eppich 81 Digging Deep: A Hauntology of Cape Town Nick Shepherd 95 Photo Essay: Eating in Uronarti Laurel Bestock 109 10 Who Are the People? 129 Susan E Alcock, J Andrew Dufton, and Müge Durusu-Tanrıöver 11 Responses to the Archaeology for the People Questionnaire Kara Cooney, Brian Fagan, Alfredo González-Ruibal, Yannis Hamilakis, Cornelius Holtorf, Marilyn Johnson, Leonardo López Luján, and Colin Renfrew 145 References 163 Index 169 Preface Archaeology for the People was written by people who enjoy archaeology for people who enjoy archaeology The book’s main purpose is to showcase essays on archaeological topics written for a non-specialized audience Although most of the contributing authors are practicing archaeologists, our intended audience is not primarily our own colleagues or students In fact, the bulk of this book can be read with interest and pleasure, we hope, by anyone who cares about the material traces of the human past The essays that make up Chapters through deal with important questions that are being tackled by archaeologists today; their content, scope, and style are inevitably and thankfully diverse They provide a taste of the variety and versatility of contemporary archaeological thought and practice Some touch upon major moments in the history of our species: Did agriculture precede organized religion, or was it the other way round? When did people first set foot in the Americas? Others focus on specific cultural and temporal horizons (such as the late Maya world) and reflect on issues of contemporary interest (How and why cities cease to be viable?) Yet others treat local problems involving the physical traces of the past in presentday urban environments and probe the relevance of an archaeology of the more recent past: What are the material reflexes of apartheid on the fabric of Cape Town? What exactly is lost when historical urban garden plots in Istanbul succumb to financial and political pressures? Two essays concern the willful damage done to archaeological sites by looting: How can something good be salvaged from the violent destruction of a Native American site in the Ohio Valley? What can we learn from the troubled life story of a famous Greek vase? If any or all of these questions intrigue you, this book is for you Chapter involves minimal prose; instead, it uses photographs to capture some of the richness and challenges of everyday life on a remote archaeological site in Northern Sudan This chapter too is meant for archaeologists and non-archaeologists alike Chapters 1, 10 and 11, however, are a different matter They are primarily aimed at professional archaeologists and at those who write about archaeology, although we hope that others too may find them of interest These chapters all confronted a simple central question: how can archaeologists make the achievements and challenges of viii Preface their discipline accessible to a non-specialized audience? Chapter explains the editors’ motivations for organizing an international writing competition that resulted in the essays presented in this volume Chapter 10 discusses the experience of teaching what was, we believe, the first Massive Open Online Course (MOOC) about archaeology; in this chapter, the authors analyze the demographics and interests of those who enrolled in their MOOC and offer reflections about just who the people in Archaeology for the People may be Chapter 11 gathers answers to a questionnaire that the editors distributed among a group of rare and exceptional persons – prominent archaeologists who have managed to write forcefully and effectively for people other than their peers We are convinced that archaeology deserves a vast and diverse audience and that it is our duty as archaeologists to reach all such people, wherever and whoever they may be Archaeology for the People is our modest attempt at sharing some of the pleasure we derive from reading and writing about our intriguing, and important, field List of Figures Initial version of the Archaeology for the People competition poster View of the excavation trenches at GÖbekli Tepe with many exposed monoliths 15 Men taking a break near one of the bostans in Istanbul 29 George McJunkin, the black cowboy and amateur archaeologist who discovered the Folsom kill site in 1908 39 Aerial view of Slack Farm shortly after the looters were indicted 53 The Sarpedon krater unveiled in Rome, January 18, 2008 69 A buried residence at El Perú-Waka’ with the underbrush cleared away 81 Slave memory and branded coffee at the Truth Café 95 The site of Uronarti, looking south 109 Produce seller in the Wadi Halfa souk 111 Boy washing vegetables to sell in Wadi Halfa 112 Shadia, our inspector, buying lentils, rice, and pasta in Wadi Halfa 113 The northern section of the fortress of Uronarti 114 Ian making morning tea over a fire, when our gas had run out 115 Zakaria in his fishing boat 116 Eggplant growing near site 117 Zakaria’s hut, built partly of fishing nets, on the southern part of the island 118 Lutfi and Saif irrigating the fuul (fava beans) on the weekend 119 Shadia cuts a watermelon brought by Yasser 120 Ali makes gurassa, somewhere between a pancake and a bread, while giving us a lesson in Nubia 121 Fuul, salad, and stale bread 122 Goat herders watch to make sure their flock does not eat the fuul 123 Christian and Ian prepare dinner by headlamp 124 A goat leg suspended from Yasser’s khema 125 Shadia and Christian drawing cooking pots 126 156 Kara Cooney et al and almost always in forms that are immediate and at no cost Nevertheless, I am confident that none of them can supersede the power, authority, and precision of the written word, as it appears in articles published in highly prestigious outreach magazines Marilyn Johnson: I absolutely relied on a variety of websites and alternate media sources to research my book about archaeologists I was influenced by Trent de Boer’s Shovel Bum: Comix of Archaeological Field Life (2004) and (among others) by Naked Archaeology and the Archaeology Channel’s podcasts; DigVentures’s Twitter feed; the Smithsonian’s website and Texas A & M’s website for the Center for the Study of the First Americans; Bill Caraher’s wonderful blog Archaeology of the Mediterranean World, and the illuminating TrowelBlazers blog; and one of my favorite sources for archaeological knowledge, Archaeology’s Dirty Little Secrets, Sue Alcock and the Joukowsky Institute’s course on Coursera Yannis Hamilakis: If archaeology is a contemporary mnemonic practice and cultural production at the same time, then it goes without saying that all artistic, performative, and literary media share with archaeology certain affinities, and all should be available for us to experiment with They are extremely important in communicating with non-specialist audiences, and at the same time they can evoke the multi-sensorial and affective nature of materiality and temporality, and of archaeological work I have extensively used various such media myself, in collaboration with colleagues and creative artists: from photo-essays (e.g., Hamilakis and Ifantidis 2013) and photoethnographic blogging (www.kalaureiainthepresent.org), to semi-literary writing in academic publications and books (e.g., Hamilakis 2013), to theater-archaeology experiments (e.g., Hamilakis and Theou 2013), often as part of the shared, creative space that archaeological ethnography can engender Such theater-archaeology performances were attended by hundreds of people in the rural countryside, as well as in Athenian restaurants and other venues In a recent work, I experiment with a combination of poetic writing and photography, attempting to evoke the contemporary Athenian crisis-scape through an archaeological sensibility (Hamilakis 2015) Several of these publications appear in scholarly fora, but all of them are also disseminated in social media, whereas some others have accompanying photo-blogs (www.theotheracropolis.com) Kara Cooney: I think it’s very important to use non-written media Everyone I know, including myself, has just too much to read There is always a stack of things to read Any means of communicating information that moves outside formal “reading” would be appreciated and create a freshness, a seduction 11 Responses to the Questionnaire 157 For example, I am working on a coffins database right now, trying quickly and clearly to communicate complicated wood-panel painted scenes from the 21st Dynasty With multiple levels of tagging on the visual medium and hopefully with some 3D photography, I will be able to abandon the deadly boring, unreadable, and unusable thick description most coffin studies have included I will also be able to compare tagged scenes from coffin to coffin, allowing analysis that written description does not Archaeology is visual Are there ways to create visual ciphers that can be quickly consumed and analyzed by our brains? Instead of writing something about stratigraphy, can we create visual codes, even comic books, which combine limited text and extensive and colorful imagery? Question 5: For whom you write? Brian Fagan: I mainly write books, ranging from long established textbooks for colleges and universities to volumes for National Geographic Mainline trade houses such as Bloomsbury or Basic Books publish most of my work (The entire non-fiction writing scene is changing fundamentally, not only because of e-books, but also because of smaller sales of serious non-fiction, a product of gross saturation in the marketplace.) I have also written popular articles for all manner of outlets from The Los Angeles Times, The New York Times and Wall Street Journal, to Gentleman’s Quarterly and Smithsonian, as well, of course, as Archaeology Magazine I’ve also consulted widely for TV and radio series and published two courses with Great Courses (formerly known as The Teaching Company) Cornelius Holtorf: Since with most of my work I intend to contribute to academic debate, I write a lot in academic journals and books My main audiences are thus students and fellow researchers in my own and related disciplines I also experience pleasure in the writing process as such, and in that sense I write for myself Kara Cooney: This depends on what it is I actually use my formal and legal name Kathlyn M Cooney for my scholarly writing and Kara Cooney for my popular writing I don’t know if anyone notices, but I I know that they are different If I’m writing about my work on funerary reuse during the 158 Kara Cooney et al Bronze Age collapse, I write for the specialist But this same work has been popular among non-specialized audiences, and so I could imagine including that research in some of my popular writing For my last book, The Woman Who Would Be King (2014), an openly conjectural and personalized biography about Hatshepsut, I wrote for anyone with an interest in people, in power, or in the ancient world If the narrative was getting bogged down with historiography or scholarly disagreement, that information was moved to an endnote That way, the scholarly information is still there, but it doesn’t pull the story away from the main character and her struggles As I suspected might happen, the book received a very critical review in KMT, an Egyptology magazine, and a very favorable review in Time There is indeed push-back when the scholar experiments with human emotion, whimsy, or conjecture, trying to flesh out characters from the ancient world Colin Renfrew: In a sense I write for myself That is to say I write about what interests me I have not deliberately contrived to make my books more popular, even when writing for a more general audience, as for instance in Before Civilization: The Radiocarbon Revolution and Prehistoric Europe (1973) or in Archaeology and Language: The Puzzle of Indo-European Origins (1988) Setting out the argument clearly has seemed the main objective But perhaps there is a lesson there which I have not yet learnt! Alfredo González-Ruibal: I write on paper for my peers (I would like to think they are more than archaeologists) and on the Internet for the wider public It is an excellent exercise, by the way, that informs and shapes my academic writing, so there is a lot of permeability I have also written a popular book in Spanish on the archaeology of the Spanish Civil War (still waiting a publisher), because new media not reach everybody (I, for one, read many books and articles and very few blogs and webpages) and because books are still necessary to develop a complex argument There is also a blurred genre, which is that of field reports: I write my excavation reports in a way that can be satisfactory for the expert (they have all the information: finds catalogues, stratigraphic units, maps) and at the same time can be accessible for the non-specialist I try not to write reports in an esoteric style that looks very scientific but often makes them difficult to follow even for other archaeologists My aim is to produce a narrative After all, to describe the excavation of a site is to tell the story of that site The reports are uploaded on our institutional digital repository (http://digital.csic.es) and it is mostly the wider public, rather than other archaeologists, that download them I would also emphasize the importance of talking, especially in countries where people not read much Public lectures are very important 11 Responses to the Questionnaire 159 Leonardo López Luján: As any archaeologist does, I produce very different types of publications aimed at diverse audiences Broadly speaking, I can say, on the one hand, that I write specialized books and articles aimed at my archaeologist colleagues and at professionls in related fields concerned with the study and understanding of the remote past But on the other hand, I write for the so-called greater public Since I work at a site-museum (Museo del Templo Mayor; templomayor.inah.gob.mex) I frequently edit catalogues for our temporary shows and these allow visitors to take home with them information additional to what they saw in the museum I am also actively involved in the journal Arqueología Mexicana, which has a run of 60,000 copies that are sold throughout my country, but which also reaches many places abroad This journal’s purpose is to communicate to a non-specialized, but educated public the advances of our discipline in Mexico Finally, I collaborate with major publishing houses and with professional illustrators, crafting stories, accounts, and narratives for children and young adults about the cultures of Mesoamerica Marilyn Johnson: I write for myself, to reach for and work out some idea that I have only a vague notion of, and to get access to a part of my brain that I can’t get at otherwise But I rewrite for my parents and my friends I want to persuade and amuse and share what I’m learning with them They are all lively and curious people who find the world a bit baffling these days – with good reason Yannis Hamilakis: For anyone who can read But we not just write: we also produce material realities, images, performances, installations, various multi-sensorial assemblages We are thus cultural producers for all people, even for the ones – especially for the ones – who cannot read Question 6: Very briefly (just a few sentences), why should anyone care about archaeology? Alfredo González-Ruibal: Which other discipline can find history in the latrine beneath your house? Cornelius Holtorf: I don’t think anybody needs to “care” for archaeology in the way you care for something that cannot take care of itself Archaeology is doing remarkably well even beyond academia Having said that, archaeology 160 Kara Cooney et al is a field that has the potential to fascinate and engage many audiences, and those who choose to ignore archaeology will so at their peril Colin Renfrew: There is no doubt that everyone should care about archaeology For it answers one of the great questions: Who are We? It does so by revealing how we came to be what we have become It can so from the earliest times of a million and more years ago right down to the final exploration of the unknown world in the eighteenth century A.D., and on through the industrial developments which formed the modern era Archaeology can also reveal the origins and nature of human diversity: the formation of peoples and of nations It is successfully tracing the history of technology, and beginning to lead to the deeper understanding of human cognition And its raw material is unending: the material evidence of the past! Yannis Hamilakis: The most important first step for reaching various publics is the demonstration of relevance; an impoverished, modernist archaeology that deals exclusively with the past and with the “archaeological record” will continue to be seen as irrelevant A contemporary archaeology, on the other hand, which shows that all urgent present-day matters are, one or way or another, to with various configurations of temporality and materiality, and with evocations of material history and memory, can become directly relevant People should care about archaeology, therefore, not because it can tell some stories about the past they did not know, but because archaeology can show how the experience and perception of materiality and temporality shape every aspect of their lives on earth They should care because it can help them counter presentist notions, and “end of history” neo-liberal agendas, or what Fredric Jameson has called, the “contemporary imprisonment in the present” (2015: 120), at the same time demonstrating the material historicity of the contemporary moment, and the contingent and temporary and thus unstable nature of the current status quo Finally, they should care because, based on its depth-knowledge of human experience on earth over the past two million years, it can help them imagine and invent new forms of living on earth, of cohabiting with non-human animals in a non-anthropocentric world, and of relating to other beings and to all organic and inorganic matter in a non-instrumental, non-exploitative manner Marilyn Johnson: “Haven’t all the important archaeological sites already been found?,” someone asked me I think this is a common misperception I always thought archaeology was fascinating, but a bit musty and arcane: broken pottery and bones, ruins, and dead civilizations Then I observed archaeologists in action, in the context of their sites, and I saw a vital and pulsing frontier Archaeologists are searching for signs of life in the past, and what they find often astonishes us 11 Responses to the Questionnaire 161 Leonardo López Luján: Archaeology is of enormous importance in Mexico Given the exceptional historical continuity of our culture, to practice archaeology in my country involves the reconstruction of the past not only as an abstract endeavor, but as the reconstruction of our own past, of the history of our ancestors, of our parents and grandparents This helps us understand how our society has changed over the centuries; it helps us understand our current situation, and to plan a future in which we will not repeat mistakes, but will replicate historical successes In this sense archaeology can act for us as a guide and a source of identity Kara Cooney: I work on the Bronze Age collapse When people who fervently believed in the power of funerary materiality were faced with scarcity of that materiality, did they change their beliefs to match the new economic reality? 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Farrar, Straus and Young, New York Index A African Burial Ground (New York City), 100 antiquities trade, 72–75, 76, 77–80 apartheid, 96, 99–100, 102, 105 archaeological engagement, 136–141, 159–161 education, 136–138 social media, 139–140, 156 Facebook, 133, 151, 152–153, 154 archaeological writing, 2–4, 7, 8–9, 14, 147–148, 149–151, 157–159 blogs, 12, 140, 152, 154, 155, 156 popular magazines, 3, 8, 62, 153 Archaeology, 3, 62, 140, 145, 157 Current Archaeology, 3, 145 National Geographic, 3, 62, 157 New Yorker, 8, 9, 13 Popular Archaeology, Time, 62, 158 journals, 46, 50, 157, 158, 159 Archaeology for the People competition, 7–13, 130, 154 B Batuman, Elif, 8, 9, 15–28 Benedict, Peter, 21 bostans (see gardens) Byzantine period, 31, 32, 37 C Cape Town (South Africa), 96–107 Green Point, 96, 97–103, 104–107 Peers Cave, 105–106 Prestwich Street, 97, 99–103, 104–105, 106–107 Childe, V Gordon, 23 Clovis culture, 43, 44–48 colonialism, 11, 97, 104, 105 Connah, Graham, 4, 13 Crazy Toma, 34–35 D Darwin, Charles, 25–26, 42 Deetz, James, 139, 145, 146 deforestation, 84–85, 93 Derrida, Jacques, 103 Diamond, Jared, 2, 24, 25, 145, 149 E Echo-Hawk, Roger, 48–51 El Perú-Waka’ (Guatemala), 83, 85, 87–90, 91–94 Euphronios krater (Sarpedon krater), 69–75, 77–80 excavation, 17–18, 19–20, 60–62, 105 F Fagan, Brian, 4, 7, 142, 146, 148, 151 Folsom, New Mexico (United States), 40, 41, 43, 51–52 G gardens, 30 Garden of Eden, 24–25, 28 market gardens (bostans), 30–38 planting beds (maşula), 33, 37, 38 Geoponika, 35–36 Göbekli Tepe, 8, 9, 15–28 abandonment of site, 22–23 bas-reliefs at, 18–19 Gould, Stephen Jay, 4, 5–6, 147 H hauntology, 103 Hecht, Robert, 73–74 heritage, 31, 37, 38, 54, 55, 79, 98, 141–143 South African Heritage Resources Agency (SAHRA), 97–99 Hands Off Committee, 98, 101, 102, 105, 106–107 170 historical catastrophe, 99, 104 Holen, Steve, 43–46 hunter-gatherers, 17, 18, 24, 25, 105 I illustrations, 13 incastellamento, 92–93 Istanbul (Turkey), 30–38 J Joukowsky Institute for Archaeology and the Ancient World, 2, 8, 156 J Paul Getty Museum, 74, 75 L Laguna del Tigre National Park (Guatemala), 83–87, 94 looting and collecting, 54, 56–57, 58–59, 60–63, 64, 65, 66–67, 70, 85–86, 141 M Massive Open Online Course (MOOC), 2, 10, 130, 131, 136, 138 Archaeology’s Dirty Little Secrets (ADLS), 130–138, 156 Maya cities, 82–83, 86–89, 90–91, 93–94 civilization, 88–89 Maya Collapse, 91–94 people, 84, 85 McJunkin, George, 39, 40, 52 Meltzer, David J., 44, 45, 50 Metropolitan Museum of Art (New York), 70, 73–75, 78, 80 monuments, 16–17, 18, 88–89 Mukherjee, Siddhartha, 4–6, 147 N NAGPRA, 63, 66 Native American, 41–43, 44, 45, 49, 54, 56, 66 burials, 59–60, 62, 64 Caborn-Welborn culture, 57–58, 65, 67 oral traditions, 49–51 sites Folsom kill site (see Folsom, New Mexico) Slack Farm (see Slack Farm, Kentucky) Neolithic, 16, 21, 22 Neolithic revolution, 23–24, 26 Nile (river), 13, 110 Nimrod, 16 Index O object biography, 72, 73, 76–77 actor-networks, 76–77 Old Testament, 25 Abraham, 16, 27–28 Garden of Eden, 24–25, 28 oral traditions, 49–51 Ottoman period, 31–32 P Paleolithic, 41, 42–43, 46, 48, 150 paleontology, 40, 43, 45 Peters, Elizabeth, 139, 147 popular science, 4–7, 151 prestige goods, 77–78 R repatriation, 70 Native American Graves Protection and Repatriation Act (NAGPRA), 63, 66 Rome (Italy), 70, 80 Rudwick, Martin J S., 4–6 S Schmidt, Klaus, 21–23, 26 Slack Farm, Kentucky (United States), 54–67 slavery, 96, 97, 102 Solutrean, 46–48 Sotheby’s, 74, 75, 79, 80 T Truth Café (Capetown), 95, 102–103 Tyson, Neil deGrasse, 139, 151 U United Nations Educational Scientific and Cultural Organization (UNESCO), 38, 79–80, 142 World Heritage Sites, 31, 37, 94, 103 Urfa (Turkey) 16, 17, 19 Uronarti (Sudan), 13, 109–127 V Von Bothmer, Dietrich, 73, 74, 78 Y Yedikule neighborhood (Istanbul), 30–38 Market gardens, 30–38 Yedikule lettuce, 29, 35, 36 ... Preface Archaeology for the People was written by people who enjoy archaeology for people who enjoy archaeology The book’s main purpose is to showcase essays on archaeological topics written for. .. generic, the other very specific The generic aspect can be located in the mission statement of the Joukowsky Institute for Archaeology and the Ancient World, formulated at the time of the Institute’s... What Is Archaeology for the People? John F Cherry and Felipe Rojas Initial version of the Archaeology for the People competition poster 2 John F Cherry and Felipe Rojas W e can trace back the varied